CD Opera Mini-Review: Philador’s ‘Sancho Panca’

The appearance of eighteenth-century opera on CD is a blessing for both fans of opera comique and those looking to broaden the horizons of a form that takes risks far too infrequently. The French composer Francois-Andre Danican Philador is thought to be the first to achieve real distinction in a style that eventually merged with Italian opera in the early nineteenth century, in the form of comedy buffa. Rossini’s The Barber of Seville and Mozart’s Don Giovanni are seminal works in the later category. Philador’s major contribution to the emergence of the opera comique as a respectable musical genre, is the application of realistic characters and situations. It can be concluded that he handled his limited orchestral resources cleverly, and the vocal lines are rich, melodious and descriptive.

History does relate that there were charges of plaguerism against Philador, published years after his death from the likes of Berlioz and other music critics that he had plundered the work of Gluck, Galuppi, Pergolesi and Jommelli. The fact that Philador had actually seen Gluck’s Orfeo opened him up for accusations for music that he wrote for Ernelinde and Le Sorcier, two operas that bear more than remarkable similarities. But both the dubious degree of intent and the non-consumation of such charges should stop the skeptics in their tracks, and allow Philador’s standing to hold sway for this style and time period. The composer’s most famous (and best) opera is Tom Jones, composed in 1765, and presented in three acts. Sancho Panza, which was recently recorded and released by Opera Lafayette with Ryan Brown conducting, is considered a more obscure Philador work, but it has gained in reputation over the past decades. Antoine-Alexandre Poinsinet (1735-1769) created the libretto of Sancho Panca from a particularly mean-spirited passage in Cervantes’ Don Quixote. The knight of the mournful countenance has promised his simple-minded squire, Sancho Panza, the governership of an island for his faithful service – a dream that the duke and dutchess features in Part 2 fullfill as part of an elaborate series of tricks played on Don Quixote and Sancho. When faced with the real demands of governing the imaginary land -the island of Barataria – Sancho quickly renounces all interest in being a governor.

The single CD of one of Philador’s most obscure work was released by Naxos in a 20 track presentation that runs less than an hour and includes no spoken dialogue from the opera. This may distress those looking to follow the narrative arc more closely, but for the purpose of a CD the omission is the better way to present it. The American baritone Darren Perry, American soprano Meghan McCall, and Italian-American soprano Elizabeth Calleo give the work vocal distinction, and are backed by Brown conducting the Opera Lafayette Orchestra on period instruments. It is suggested by some that Perry’s range is ragged, but it’s hard to ascertain that from the professional recording and the strong presence of his piercing voice, which allows for some major moments, like the one referred to as Sancho’s ‘boule’ aria, in which he imagines his travails on the island, and the duet of Sancho and Don Crispinos.

The opera music from this period is certainly an acquired taste, and initial exposure can be alienating, especially for those who count their opera affections for the Italian melodic work that came after. Yet there is a seductive quality to Philador, that seems to weave its spell after repeat listenings. The short duration of the CD and the brevity of the individual passages makes this experiment manageable, and may well make an unlikely fan out of a listener who previously tuned out to a form that derived from recitative roots.

Even for those who might take a while to appreciate the work of impressive vocalists from this period, Ryan Brown and the Opera Lafayette provide authentic and spirited music that will be hard to resist.

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12 Responses

You mentioned Pergolesi Sam, as one who supposedly influenced Philador. I once netflixed ‘La Serva Padrona’ by Pergolesi, and found it a prime smapling of the opera comique style that this CD falls safely into.

I actually own an original DVD of that Pergolesi opera, and I must say it’s rather an infectious piece, and definitely as you note a prime Italian counterpart to the French opera comique. There is good reason why Philidor is comparable.

Philador’s Tom Jones sounds most interesting too. I know this is one of your shorter pieces, but it is still informative and enthusiastic, and written with flair. You had me googling Philador this morning. There isn’t all that much, making him a challenging figure, the best kind.

Good point. This period overlaps with baroque, in fact they co-existed, with the great Handel carrying the torch until his death in 1759. Sorry I keep misspelling Phil -a-dor. It should be Phil -i- dor despite my review! Ha!

Thanks very much my friend, and Happy Thanksgiving to you and your family. Same to Frank and Peter!

I enjoyed your account of the opera, Sam, especially in its touching upon the chaotic factors of the Don Quixote story. Your review is so fortuitous at this juncture of consideration of the work of Bunuel. It had never occurred to me that something about the energies of the quixotic Don and his friend could have fostered his devotion to Surrealist productions.

Many thanks for that. It was an extremely modest and brief post, and while I had hoped to dig deeper, I just felt a general introduction was more appropriate. The composer is obscure I know, but apparently he’s gaining attention over the last two decades. I love, love, love the way you tied Bunuel’s surrelism here with Don Quixote. Brilliant correlation.

Happy Thanksgiving to you and Valerie, though I know you are in Toronto, and probably are imune to these festivities! LOL!!! Thanks again my friend!

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Wonders in the Dark is a blog dedicated to the arts, especially film, theatre and music. An open forum is highly encouraged, as the site proctors are usually ready and able to engage with ongoing conversation.